Form and structure !! Consists of 3 parts with the 3rd voice entering

in bar 3!! Two main elements - the subject and the

countersubject !! Incorporates a lot of thematic imitation and

certain areas combine elements from both subject and countersubject to add development and new material to the music!

! Can be divided into 5 parts!

A bars 1-6! B bars 6-10! C bars 9-14 (3rd beat)! D bars 14 (3rd beat) - 19! E bars 19-26

! Harmony!!

Moves through a variety of keys including D Major, B minor, B Major, E minor, G Major!!

Makes use of secondary dominants especially V of V and V of VI!!

Rhythm!! Voices have rhythmic independence and

there is a variety of crotchets, quavers, semiquavers, minims and also occasional semibreves.!!

It is interesting to note that in bar 2 the rhythmic movement becomes more constant and quick to differ between the two parts of the subject and countersubject.

General Harmonic, Rhythmic and Melodic elements

!Subject!!

Consists of two main parts distinguished by melodic and rhythmic variety!

! Part 1- bars 1-2 (3rd beat) !!

This is a descending sequence of a motif based on a descending leap of a 4th followed by two ascending steps and a downward leap of a 6th. !!

In its first appearance there is an initial quaver rest in this particular voice. !

It incorporates both quavers and semiquavers.!

! Part 2- bars 2 (3rd beat) - 3 (4th beat)!!

Based solely on semiquavers and initially the shape of its first and second groups of 4 semiquavers might look like a varied inversion of the motif forming part 1!!

The melody is more flowing with stepwise motion!

Countersubject!! Is heard in the bass part and can also be divided

into two main parts!! Part 1 bar 2 (3rd beat) - 3 (3rd beat)!!

Initially the bass part actually starts before the entry of the subject mentioned previously but the material is only present once on its own.!

! this first part consists solely of quavers and

mainly makes use of leaps of octaves, 3rds and some stepwise motion.!

! Part 2 bar 3 (3rd beat) - 5!!

Like the second part of the subject this uses only semiquavers.!

! It is very flowing and presents the wave shape

created through ascending and descending stepwise motion which is a key element in the piece and is very prominent throughout. This is also a descending sequence. !

!

Part A - bars 1-6!! This can be considered as an expositional

part where the subject and countersubject are firs presented in their original form.!!

The first imitation of the subject can be seen in the inner voice and it starts on the second beat of bar 3 until bar 6!!

It is an exact imitation of the statement starting a 4th lower.!!

while this is playing the prominent wave shape in the bass and descending stepwise motion in the upper voice accompany it creating rhythmic independence between all 3 voices.!!

In bar 5 the middle voice moves simultaneously first with the upper voice and later with the lower voice. This joining of voices brings all the basic elements which make the piece together and prepares the listener for the second segment of music which develops on what has been presented so far.

Part B - bars 6-10!!!! The first two bars of this part imitate the

their previous two but in this case some parts are placed differently!!

the main motif and imitation of the subject an 8ve lower is now in the bass part while the prominent wave form is in the upper voice and the slow, downward stepwise motion now moved to the middle voice. !!

the similar movement in the second and third bars are now between the lower two voices !!

in the third bar there is an alternation of figures between the upper and lower voices. These 2 main figures are the last part of the subject and a variation based on the first rhythmic motif. !

SHOW EXAMPLE

Part C - bars 9-14(3rd beat)!!! Throughout this part the wave figure

created by ascending and descending stepwise motions is once again present, this time in the middle voice.!

!The bass part initially plays long descending noter and later includes a smaller, faster passage.!!The upper voice once again states the subject, this time a 3rd lower than the original statement.!!After this one can notice a sort of imitative dialogue between the two upper voices. This uses a particular cell which seams to be inverted when being played in the middle voice. !!This form of dialogue between the two creates a variation of the wave shape previously mentioned.

Part D - bars 14 (3rd beat)-19!!! In this section we notice the developmental

change in shape of the initial motif found in the subject. !

! The leaps are enlarged and then contracted to

go back to its initial form!! This motif moves from voice to voice and is

accompanied by material based on semiquaver derived from the last part of the initial subject. SHOW EXAMPLE!

! These elements alternate in voices until they

are combined together in the upper two voices accompanied by a single semibreve which leads to the coda and the final cadence.

Part E - bars 19-26!! The coda puts all elements from the subject

and countersubject to lead to the final cadence.!!

The subject is stated one last time in its full form in the lower voice while the upper voices accompany it with the prominent wave shape once again and descending stepwise motion.!!

The first part of the subject is then played once again in the middle voice and the descending sequence based on the motif which binds all together is presented for the last time in the upper voice.!!

a descending semiquaver run leads to the final tonic.